Not surprisingly this new release from Rachel Barton Pine, this time with her friends and Cedille label-mates John Mark Rozendaal and David Schrader--appearing together as...

Not surprisingly this new release from Rachel Barton Pine, this time with her friends and Cedille label-mates John Mark Rozendaal and David Schrader--appearing together as Trio Settecento--offers a well-thought-out program. As demonstrated on her previous recordings, Pine is interested not just in filling a CD with good music but in providing listeners with a broader, more meaningful experience. In this case the trio's aim is to show the ways different Italian or Italian-influenced composers realized the possibilities of the newly emerging voice of the solo violin beginning in the late 17th century. And "voice" is the key word here, as throughout these eight very distinctive pieces we hear all manner of expressive effects as well as the pure, artful exploitation of the violin's capacity for lyrical, singing melody.

Both of these features are amply--and memorably--displayed in the first movement of Locatelli's Sonata da camera Op. 6 No. 2 in F major, where the elegant, flowing course of the melody is frequently enlivened with little quick flourishes and runs, where bow and fingers literally skim across the strings. These connective devices are not mere ornaments but importantly allow the performer to give character to the instrument, which in the hands of a first-rate soloist--as we have here--can almost sound like it's speaking. Another highlight is Tartini's Sonata Pastorale in A major, whose opening movement is rich with pleasing melodies and well-integrated instrumental textures, its second movement a spirited Allegro--but its final movement a tour de force that recalls shepherds' bagpipes interspersed with sudden outbursts of raucous dancing.

There's so much more here to enjoy, including the more stylistically formalized Corelli and Handel sonatas--and the dazzling final Ciaccona of Veracini's Sonata in D minor Op. 2 No. 12 that closes the disc. But as well crafted as these sonatas are, it's Pine and her outstanding colleagues that make the impression, and it's obvious that these players--all respected soloists--have been together in this repertoire for a long time. In fact, they've been performing as an ensemble for more than 10 years, successfully applying their exceptionally high level of modern technique and artistry to a sincere concern for period-performance authenticity. I especially enjoyed the sound of Pine's original, unaltered 1770 Gagliano violin, which in her hands sings with an impressively assertive tone--bold and gritty, with a lovely, silvery upper register. This is a disc that demands, encourages, and truly rewards many hearings, made even more enjoyable by the vibrant, natural, ideally balanced sound. Highly recommended!

--David Vernier, ClassicsToday.com